INDIO, Calif. — Let’s just cut to the chase: There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon, than Beyoncé’s headlining set at the Coachella Valley Music and Arts Festival Saturday night.

It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.

And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.

It started with the horns: trumpets, trombones, sousaphones. For most of the night, the 36-year-old star was backed by an ecstatic marching band, in the manner of historically black college football halftime shows. The choice instantly reoriented her music, sidelining its connections to pop and framing it squarely in a lineage of Southern black musical traditions from New Orleans second line marches to Houston’s chopped-and-screwed hip-hop.

Her arrangements were alive with shifts between styles and oodles of small details, quick musical quotations of songs (Pastor Troy’s “No Mo’ Play in G.A.,” anyone?) that favored alertness and engagement. As always, one of the key thrills of a Beyoncé performance is her willingness to dismantle and rearrange her most familiar hits. “Drunk in Love” began as bass-thick molasses, then erupted into trumpet confetti. “Bow Down” reverberated with nervy techno. “Formation,” already a rapturous march, was a savage low-end stomp here. And during a brief trip through the Caribbean part of her catalog, she remade “Baby Boy” as startling Jamaican big band jazz.

She does macro, too — she was joined onstage by approximately 100 dancers, singers and musicians, a stunning tableau that included fraternity pledges and drumlines and rows of female violinists in addition to the usual crackerjack backup dancers (which here included bone breakers and also dancers performing elaborate routines with cymbals).

In this Thursday, July 17, 2014 photo, from left, outfits from Beyonce’s 2013 Super Bowl performance, 2011″Sweet Dreams,” 2003 “Single Ladies” and 2003 “Dangerously in Love” are displayed in a new exhibit at the Rock and Roll Hall of Fame in Cleveland. The Rock Hall announced Friday, July 18, 2014, that outfits from Beyonce’s Super Bowl performance and music videos will debut Tuesday in the Ahmet Ertegun Main Exhibit Hall in its Legends of Rock section next to iconic pieces from Michael Jackson, David Bowie and Bruce Springsteen. (AP Photo/Mark Duncan)

NEW YORK (AP) – A fashion exhibit centered on Beyoncé will debut at the Rock and Roll Hall of Fame and Museum in a section previously featuring only Hall of Famers. The Rock Hall announced today that outfits from Beyoncé’s Super Bowl performance and music videos will debut Tuesday in the Ahmet Ertegun Main Exhibit Hall in its Legends of Rock section, next to iconic pieces from Michael Jackson, David Bowie and Bruce Springsteen.

The 32-year-old Beyoncé would be eligible for induction into the Rock Hall as a member of Destiny’s Child in 2022 and as a solo artist in 2027. The exhibit in Cleveland, Ohio, will feature Beyonce’s ubiquitous black leotard from her “Single Ladies” music video, as well as her body suit, skirt and jacket from her Super Bowl performance last year in New Orleans.

Rock Hall curator Meredith Rutledge-Borger said they have been trying to court Beyonce “for a really long time.” “When we looked at the depth of the amount of stuff that she was willing to send, we just thought, ‘The only way we can really showcase these items is to put them in the Legends of Rock area in the museum,’ which really is the spot that we have to pay tribute to legends of rock, which Beyonce has proven herself to be,” she said in an interview.

Lee Anne Callahan-Longo, the general manager of Beyonce’s production house, Parkwood Entertainment, said the singer was honored and humbled by the opportunity to have her personal items in the museum.